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1
Brioni, Simone, and Shirin Ramzanali Fazel. Scrivere di Islam. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-411-0.
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Scrivere di Islam. Raccontare la diaspora (Writing About Islam. Narrating a Diaspora) is a meditation on our multireligious, multicultural, and multilingual reality. It is the result of a personal and collaborative exploration of the necessity to rethink national culture and identity in a more diverse, inclusive, and anti-racist way. The central part of this volume – both symbolically and physically – includes Shirin Ramzanali Fazel’s reflections on the discrimination of Muslims, and especially Muslim women, in Italy and the UK. Looking at school textbooks, newspapers, TV programs, and sharing her own personal experience, this section invites us to change the way Muslim immigrants are narrated in scholarly research and news reports. Most importantly, this section urges us to consider minorities not just as ‘topics’ of cultural analysis, but as audiences and cultural agents. Following Shirin’s invitation to question prevailing modes of representations of immigrants, the volume continues with a dialogue between the co-authors and discusses how collaboration can be a way to avoid reproducing a ‘colonial model’ of knowledge production, in which the white male scholar takes as object of analysis the work of an African female writer. The last chapter also asserts that immigration literature cannot be approached with the same expectations and questions readers would have when reading ‘canonised’ texts. A new critical terminology is needed in order to understand the innovative linguistic choices and narrative forms that immigrant writers have invented in order to describe a reality that has lacked representation or which has frequently been misrepresented, especially in the discourse around the contemporary Muslim diaspora.
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Thomas, Troy. Poussin's Women. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721844.
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Poussin’s Women: Sex and Gender in the Artist’s Works examines the paintings and drawings of the well-known seventeenth-century French painter Nicolas Poussin (1594-1665) from a gender studies perspective, focusing on a critical analysis of his representations of women. The book’s thematic chapters investigate Poussin’s women in their roles as predators, as lustful or the objects of lust, as lovers, killers, victims, heroines, or models of virtue. Poussin’s paintings reflect issues of gender within his social situation as he consciously or unconsciously articulated its conflicts and assumptions. A gender studies approach brings to light new critical insights that illuminate how the artist represented women, both positively and negatively, within the framework in his seventeenth-century culture. This book covers the artist’s works from Classical mythology, Roman history, Tasso, and the Bible. It serves as a good overview of Poussin as an artist, discussing the latest research and including new interpretations of his major works.
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Graves, Margaret S. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0001.
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The introduction outlines the art of the object in medieval Islam and introduces several of the book’s key concepts. It aligns architecture and the plastic arts, and shows how points of commonality between these “arts of the third dimension” are drawn allusively in the medieval Islamic context, relying not on direct morphological likeness but on indirect models of representation. It also discusses the implications of miniaturization and draws distinctions between the allusive artworks under discussion and representational objects like architectural maquettes or votive models. The introduction tackles head-on the unique issues of medieval Islamic portable artworks: the mobility of the objects and the problems this raises for traditional taxonomies, the role of the art market in the formation of the extant corpus, and the reductive effects of museum display and photographic reproduction on objects that were originally designed to be held and moved in the hands.
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Gulick, Robert Van. Consciousness and Cognition. Edited by Eric Margolis, Richard Samuels, and Stephen P. Stich. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195309799.013.0002.
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Several concepts used in the area of consciousness and cognition are discussed. There are five distinguished types of creature consciousness. An organism may be said to be conscious is it can sense and perceive its environment and has the capacity to respond appropriately. A second sense of creature consciousness requires not merely the capacity to sense or perceive, but the current active use of those capacities. Another notion of creature consciousness requires that organisms be not only aware but also self-aware. Self-awareness comes in degrees and varies along multiple dimensions. The conscious creatures might be defined as those that have an experiential life. Organisms are sometimes said to be conscious of various items or objects. Consciousness in this sense is understood as an intentional relation between the organism and some object or item of which it is aware. The conscious states might be regarded as those that have phenomenal properties or phenomenal character. The representationalist theories claim that conscious states have no mental properties other than their representational properties. Higher-order theories analyze consciousness as a form of self-awareness. Higher-order theories come in several forms. Some treat the requisite higher-order states as perception-like, and thus the process of generating such states is a kind of inner perception or perhaps introspection. The intermediate level representation model focuses on the contents of conscious experience.
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Rehder, Bob. Concepts as Causal Models. Edited by Michael R. Waldmann. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199399550.013.21.
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This chapter evaluates the case for treating concepts as causal models, the view that people conceive of a categories as consisting of not only features but also the causal relations that link those features. In particular, it reviews the role of causal models in category-based induction. Category-based induction consists of drawing inferences about either objects or categories; in the latter case one generalizes a feature to a category (and thus its members). How causal knowledge influences how categories are formed in the first place—causal-based category discovery—is also examined. Whereas the causal model approach provides a generally compelling account of a large variety of inductive inferences, certain key discrepancies between the theory and empirical findings are highlighted. The chapter concludes with a discussion of the new sorts of representations, tasks, and tests that should be applied to the causal model approach to concepts.
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Austerweil, Joseph L., Samuel J. Gershman, and Thomas L. Griffiths. Structure and Flexibility in Bayesian Models of Cognition. Edited by Jerome R. Busemeyer, Zheng Wang, James T. Townsend, and Ami Eidels. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199957996.013.9.
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Probability theory forms a natural framework for explaining the impressive success of people at solving many difficult inductive problems, such as learning words and categories, inferring the relevant features of objects, and identifying functional relationships. Probabilistic models of cognition use Bayes’s rule to identify probable structures or representations that could have generated a set of observations, whether the observations are sensory input or the output of other psychological processes. In this chapter we address an important question that arises within this framework: How do people infer representations that are complex enough to faithfully encode the world but not so complex that they “overfit” noise in the data? We discuss nonparametric Bayesian models as a potential answer to this question. To do so, first we present the mathematical background necessary to understand nonparametric Bayesian models. We then delve into nonparametric Bayesian models for three types of hidden structure: clusters, features, and functions. Finally, we conclude with a summary and discussion of open questions for future research.
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Jones, Charlotte. Realism, Form, and Representation in the Edwardian Novel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.001.0001.
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‘The real represents to my perception the things that we cannot possibly not know, sooner or later, in one way or another,’ wrote Henry James in 1907. This description, riven with double negatives, hesitation, and uncertainty, encapsulates the epistemological difficulties of realism, for underlying its narrative and descriptive apparatus as an aesthetic mode lies a philosophical quandary. What grounds the ‘real’ of the realist novel? What kind of perception is required to validate the experience of reality? How does the realist novel represent the difficulty of knowing? What comes to the fore in James’s account, as in so many, is how the forms of realism are constituted by a relation to unknowing, absence and ineffability. Realism, Form, and Representation in the Edwardian Novel recovers a neglected literary history centred on the intricate relationship between fictional representation and philosophical commitment. It asks how—or if—we can conceptualize realist novels when the objects of their representational intentions are realities that might exist beyond what is empirically verifiable by sense data or analytically verifiable by logic, and are thus irreducible to conceptual schemes or linguistic practices—a formulation Charlotte Jones refers to as ‘synthetic realism’. In new readings of Edwardian novels (including Conrad’s Nostromo and The Secret Agent, Wells’s Tono-Bungay, and Ford’s The Good Soldier), Jones revises and reconsiders key elements of realist novel theory—metaphor and metonymy; character interiority; the insignificant detail; omniscient narration and free indirect discourse; causal linearity—to uncover the representational strategies by which realist writers grapple with the recalcitrance of reality as a referential anchor, and seek to give form to the force, opacity, and uncertain scope of realities that may lie beyond the material. In restoring a metaphysical dimension to the realist novel’s imaginary, Realism, Form, and Representation in the Edwardian Novel offers a new conceptualisation of realism both within early twentieth-century literary culture and as a transhistorical mode of representation.
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Ott, Walter. Malebranche on Sensation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791713.003.0007.
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This chapter introduces the broad outlines of Malebranche’s treatment of perception. Although much changes over the course of Malebranche’s career, the background ontology of sensation remains constant. Pace recent commentators, the chapter argues that Malebranche is not an adverbialist about sensation. Instead, Malebranche follows out the logical implications of Descartes’s substance/mode ontology. As he sees it, sensations can only be modes of minds, with the seemingly unfortunate result that the mind sensing green really is green. What is more to the point, Descartes’s ontology of sensation deprives them of any role in representation or intentionality. The objects of our sensings are blank effects, mere states of the soul that cannot direct the mind to the world of extension.
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Turner, David M. Picturing Disability in Eighteenth-Century England. Edited by Michael Rembis, Catherine Kudlick, and Kim E. Nielsen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190234959.013.20.
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The eighteenth century is often seen as a time when disability became increasingly marginalized in visual culture. However, a glimpse beyond the classical tastes of “high” art reveals not a disappearance but a flourishing of representations of physical and sensory difference. Eighteenth-century popular art and satirical prints examined the disabled body not just as a symbol of misfortune or target for medical intervention, but also as a source of pleasure or an object of satire that conveyed wider messages about the times. A rich and varied range of pictorial representations of disability in the long eighteenth century (ca. 1680–ca. 1830) contributed to social, cultural, and medical understandings of bodily difference in English culture. People with disabilities played important roles as artists, models, and critics in an era before modern “disability arts.”
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Dunlop, Katherine. Understanding Non-Conceptual Representation of Objects. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198724957.003.0003.
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This chapter endorses Lucy Allais’s attribution of a non-conceptualist view to Kant and her methodology of appealing to contemporary cognitive science. In particular, it agrees with Allais that intuition should be understood as the result of cognitive processing (rather than as brutely given). But the chapter argues that Allais’s choice of ‘binding’ as an empirical model (for the generation of intuition) is not apt, proposing instead that the processing that generates intuition should be taken to implement empirically-identified ‘principles of object perception’. It is argued that representation conforming to these principles need not qualify as conceptual by Kant’s standards.
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Barreto, Cristiana. Figurine Traditions from the Amazon. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.020.
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Stone and ceramic figurines occurred in many pre-Columbian cultures of Amazonia but only appear as recurrent, traditional objects late in the cultural history of the region, primarily in the large settlements which flourished along the Lower Amazon and its estuaries. Marajoara and Santarém ceramics include an array of figurines depicting humans and animals, in languages emphasizing body transformation and reproduction, and, sometimes, decapitation. Some also performed as rattles, or maracas, an instrument traditionally related to shamanic power. Stone figurines from the Lower Amazon present similar modes of body representation and seem to be part of the drug paraphernalia used in shamanic rituals. Rather than being a marker for the appearance of more complex, agrarian societies, Amazonian figurines seem to be related to the intensification of deeply rooted shamanic practices. This chapter reviews the context and repertoires of figurine traditions within the different models proposed in Amazonian archaeology for pre-Columbian societies.
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Lorino, Philippe. Pragmatism and Organization Studies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198753216.001.0001.
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The development of pragmatist thought (Peirce, James, Dewey, and Mead) in the first half of the twentieth century in the United States deeply impacted political science, semiotics, philosophy, psychology, sociology, education, law. Later intellectual trends (analytical philosophy, structuralism, cognitivism) focusing on rational representations or archetypical models somehow sidelined Pragmatism for three decades. In the world of organizations, they often conveyed the Cartesian dream of rational control, which became the mainstream view in management and organization research. In response to the growing uncertainty and complexity of situations, social sciences have experienced a “pragmatist turn.” Many streams of organization research have criticized the view of organizations as information-processing structures, controlled through rational representations. They share some key theoretical principles: the processual view of organizing as “becoming”; the emphasis on the key role of action; the agential power of objects; the exploratory and inquiring nature of organizing. These are precisely the key theses of pragmatists, who formulated a radical critique of the dualisms which hinder organization studies (thought/action, decision/execution, reality/representation, individual/collective, micro/macro) and developed key concepts applicable to organization studies (inquiry, semiotic mediation, habit, abduction, trans-action, valuation). This book aims to make the pragmatist intellectual framework more accessible to organization and management scholars. It presents some fundamental pragmatist concepts, and their potential application to the study of organizations, drawing conclusions concerning managerial practices, in particular the critique of the Taylorian tradition and the promotion of continuous improvement. To enhance accessibility, each theme is illustrated by real cases experienced by the author.
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Abacı, Uygar. Kant's Revolutionary Theory of Modality. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831556.001.0001.
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This book offers a comprehensive study of Kant’s views on modal notions of possibility, actuality or existence, and necessity. It aims to locate Kant’s views on these notions in their broader historical context, establish their continuity and transformation across Kant’s precritical and critical texts, and determine their role in the substance as well as the development of Kant’s philosophical project. It makes two overarching claims. First, Kant’s precritical views on modality, which appear in the context of his attempts to revise the ontological argument and are critical of the tradition only from within its prevailing paradigm of modality, develop into a revolutionary theory of modality in his critical period, radicalizing his critique of the ontotheological and rationalist metaphysical tradition. While the traditional paradigm construes modal notions as fundamental ontological predicates, expressing different modes or ways of being of things, Kant’s theory consists in redefining them as subjective and relational features of our discursivity, expressing different modes in which our conceptual representations of objects are related to our cognitive faculty. Second, this revolutionary theory of modality does not only become a crucial component of Kant’s critical epistemology and his radical critique of rationalist metaphysics, but it is in fact directly constitutive of the critical turn itself, as Kant originally formulates the latter in terms of a shift from an ontological to an epistemological approach to the question of possibility. Thus, tracing the development of Kant’s understanding of modality comes to fruition in an alternative reading of Kant’s overall philosophical development.
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Barrett, Caitlín Eilís. Domesticating Empire. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190641351.001.0001.
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This book is the first contextually oriented monograph on Egyptian imagery from Roman households. The author uses case studies from Flavian Pompeii to investigate the close association between representations of Egypt and a particular type of Roman household space: domestic gardens. Through paintings and mosaics depicting the Nile, canals that turned the garden itself into a model “Nile,” and statuary depicting Egyptian gods, animals, and individuals, many gardens in Pompeii confronted ancient visitors with images of (a Roman vision of) Egypt. Simultaneously far away and familiar, these imagined landscapes transformed domestic space into a microcosm of empire. In contrast to older interpretations that connect Roman “Aegyptiaca” to the worship of Egyptian gods or the problematic concept of “Egyptomania,” a contextual analysis of these garden assemblages suggests new possibilities for meaning. In Pompeian houses, Egyptian and Egyptian-looking objects and images interacted with their settings to construct complex entanglements of “foreign” and “familiar,” “self” and “other.” Representations of Egyptian landscapes in domestic gardens enabled individuals to present themselves as cosmopolitan, sophisticated citizens of empire. Yet at the same time, household material culture also exerted an agency of its own: domesticizing, familiarizing, and “Romanizing” once-foreign images and objects. That which was once alien and potentially dangerous was now part of the domus itself, increasingly incorporated into cultural constructions of what it meant to be “Roman.” Through participatory multimedia assemblages evoking landscapes both local and international, the houses examined in this book made the breadth of empire compatible with the familiarity of home.
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Impett, Jonathan. Making a mark The psychology of composition. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0037.
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This article discusses the psychology of composition. Composition is a reflexive, iterative process of inscription. The work, once named as such and externalizable to some degree, passes circularly between inner and outer states. It passes through internal and external representations – mostly partial or compressed, some projected in mental rather than physical space, not all necessarily conscious or observable – and phenomenological experience, real or imagined. At each state-change the work is re-mediated by the composer, whose decision-making process is conditioned by the full complexity of human experience. This entire activity informs the simultaneous development of the composer's understanding of the particular work in its autonomy, of their own creativity, and of music more broadly. While the urge to compose – to invent, structure, and define sound and musical behaviour – may be to some degree innate, modes of conceiving, representing, and realizing are the product of a situated process. Even if some or all of that activity is so well assimilated personally or culturally that it remains hidden from experimental view, it remains a behaviour in respect of an emerging object.
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Heunen, Chris, and Jamie Vicary. Categories for Quantum Theory. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198739623.001.0001.
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Monoidal category theory serves as a powerful framework for describing logical aspects of quantum theory, giving an abstract language for parallel and sequential composition and a conceptual way to understand many high-level quantum phenomena. Here, we lay the foundations for this categorical quantum mechanics, with an emphasis on the graphical calculus that makes computation intuitive. We describe superposition and entanglement using biproducts and dual objects, and show how quantum teleportation can be studied abstractly using these structures. We investigate monoids, Frobenius structures and Hopf algebras, showing how they can be used to model classical information and complementary observables. We describe the CP construction, a categorical tool to describe probabilistic quantum systems. The last chapter introduces higher categories, surface diagrams and 2-Hilbert spaces, and shows how the language of duality in monoidal 2-categories can be used to reason about quantum protocols, including quantum teleportation and dense coding. Previous knowledge of linear algebra, quantum information or category theory would give an ideal background for studying this text, but it is not assumed, with essential background material given in a self-contained introductory chapter. Throughout the text, we point out links with many other areas, such as representation theory, topology, quantum algebra, knot theory and probability theory, and present nonstandard models including sets and relations. All results are stated rigorously and full proofs are given as far as possible, making this book an invaluable reference for modern techniques in quantum logic, with much of the material not available in any other textbook.
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Singer, Kate, Ashley Cross, and Suzanne Barnett, eds. Material Transgressions. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621778.001.0001.
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Material Transgressions reveals how Romantic-era authors think outside of historical and theoretical ideologies that reiterate notions of sexed bodies, embodied subjectivities, isolated things, or stable texts. Essays examine how these writers rethink materiality, especially the subject-object relationship, in order to challenge the tenets of Enlightenment and the culture of sensibility that privileged the hegemony of the speaking and feeling lyric subject and to undo supposedly invariable matter, and representations of it, that limited their writing, agency, knowledge, and even being. In this volume, the idea of transgression serves as a flexible and capacious discursive and material movement that braids together fluid forms of affect, embodiment, and textuality. They offer alternative understandings of materiality that move beyond concepts that fix gendered bodies and intellectual capacities, whether human or textual, idea or thing. They enact processes—assemblages, ghost dances, pack mentality, reiterative writing, shapeshifting, multi-voiced choric oralities—that redefine restrictive structures in order to craft alternative modes of being in the world that can help us to reimagine materiality both in the Romantic period and now. Such dynamism not only reveals a new materialist imaginary for Romanticism but also unveils textualities, affects, figurations, and linguistic movements that alter new materialism’s often strictly ontological approach.
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Callanan, John J., and Lucy Allais, eds. Kant and Animals. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859918.001.0001.
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This is an edited collection devoted to the topic of the role of animals within Kant’s philosophy. It addresses key issues within both his theoretical and practical philosophy. It examines the place of Kant’s model of animal minds in the historical and contemporary contexts. It addresses the question of whether Kant’s philosophy of mind allows for animals to be capable of intentional representations of spatiotemporal objects. It explores how Kant treated the issue of animal nature as it manifests in humans and non-humans alike, and questions how Kant’s scientific theory attempted to accommodate animals within his broader Enlightenment worldview. It also addresses traditional worries about the moral status of animals within Kant’s and Kantian moral theory. Kant notoriously denied that we have direct obligations to animals, and the question persists as to whether Kantian moral theory provides the right account of the moral status of non-human animals. Several papers in this collection address the question and whether Kant’s views can be defended or ought to be rejected altogether on this basis alone. The collection considers the relevance of Kantian theory for our understanding of contemporary challenges facing human beings with regard to our relationship to animals.
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Grant, Roger Mathew. Peculiar Attunements. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288069.001.0001.
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Peculiar Attunements places the recent turn to affect into conversation with a parallel movement that took place in European music theory of the eighteenth century. During that time the affects—or the passions, as they were also called—formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for these thinkers, since it wasn’t apparent that musical tones could imitate anything with any dependability (except, perhaps, for the rare thunderclap or birdcall). Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music. These theorists postulated that it was music’s physical materiality as sound that vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory’s common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it argues for renewed attention to the objects that generate affects in subjects.
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Floridi, Luciano. The Logic of Information. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833635.001.0001.
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This is a book on the logic of design and hence on how we make, transform, refine, and improve the objects of our knowledge. The starting point is that reality provides the data, to be understood as constraining affordances, and we transform them into information, like semantic engines. Such transformation or repurposing is not equivalent to portraying, or picturing, or photographing, or photocopying anything. It is more like cooking: the dish does not represent the ingredients, it uses them to make something else out of them, yet the reality of the dish and its properties hugely depend on the reality and the properties of the ingredients. Models are not representations understood as pictures, but interpretations understood as data elaborations, of systems. Thus, the whole book may also be read as an articulation and defence of the thesis that knowledge is design, and that philosophy is the ultimate form of conceptual design. This is the third volume in a tetralogy that includes The Philosophy of Information (OUP 2011) and The Ethics of Information (OUP 2013). The three volumes are all written as stand-alone, but they are complementary. By working like a hinge between the two previous books, this third one prepares the basis for volume four, on The Politics of Information. There, the epistemological, conceptual, and normative constructionism supports the study of the design opportunities we have in understanding and shaping what I like to call “the human project” in our information societies.
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Morris, Michael. Real Likenesses. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861751.001.0001.
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This book offers a new approach to artistic representation, worked out in detail for the cases of paintings, photographs, and novels. It presents a paradox in the case of each of the three art forms, and argues for a thesis (the Non-Distraction Thesis) about the relation between medium and content. It then argues that the dominant theories of representation in the three art forms are incompatible with that thesis. Fresh light is thereby cast on familiar topics: the supposed phenomenon of ‘twofoldedness’, in the case of paintings; the alleged ‘transparency’ of photographs; the ‘paradox of fiction’, in the case of novels. Illusionistic theories, ‘seeing-in’ theories, imagination theories, and resemblance theories are the target in the case of paintings; theories which take photographs to be transparent pictures, in the case of photographs; and imagination theories, abstract-artefact theories, and theories which mix the two, in the case of novels. Having raised problems for existing theories in these domains, the book proposes for each art form a novel way of understanding the relation between the medium and the content. The new model is developed first for the case of paintings: it is proposed that the face you see in a painting is a real thing made of paint, which is, in a way, a face, in virtue of resembling a real face. This model is then applied to photographs, and to novels, with care taken to explain in each case how a suitable object might be constructed in the medium.